NYFW Spring/Summer 2027
ANNA SUI
Anna Sui's Spring/Summer 2027 showing took place at The National Arts Club in Gramercy Park. The collection, titled "Wonderment," was inspired by the fantasy paintings of Howard Gardiner Cushing, which Sui discovered by chance in the background of a 1970s Vogue photograph by Richard Avedon. Textile usage included eyelet, hand crochet, lace, sheer embroidered chiffon, silver-studded denim, sequins and paillettes. White, lilac, mauve, pink and denim blue were seen throughout. The overall feel was soft and bohemian, with fringe shawls and layered lace giving the show a lived-in ease.
BIBHU MOHAPATRA
Bibhu Mohapatra presented his Spring/Summer 2027 collection in the Grand Ballroom of The Pierre Hotel against a wall of roses. The Indian-born New York designer is known for sculptural eveningwear and heavy embellishment, and this season marked a collaboration with Olive Tree People and Olive Rose, a skincare and makeup company that builds its products around the olive tree. Mohapatra created a one-of-one gown merging olive leaves and roses for the partnership, while the brand handled the runway beauty and handed out olive crowns to the front row. The 47 looks consisted of sheer lace gowns tied with ribbon at the shoulder, balloon-sleeve chiffon blouses over embroidered minis, sequined gloves, candy-striped jackets with skirts finished in ostrich feathers, and mustard silk shirts trimmed in pink feathers over washed denim. Pink led the palette in every shade from bubblegum to blush, set against silver, mustard yellow and denim. Mohapatra kept the embellishment he is known for but loosened the silhouettes, making this one of his most wearable collections to date.
LOVESHACKFANCY
LoveShackFancy's Spring/Summer 2027 presentation was held at Dante on Elizabeth Street in Nolita. Founder Rebecca Hessel Cohen was inspired by pre-social-media New York, the early 2000s era of magazine editors, editorial shoots and downtown fashion parties, before every look was made for a phone screen. The collection borrowed lightly from lingerie, with lace hemming and slip shapes throughout, and consisted of lace-trimmed chiffon robes over printed mini shorts, sequined camisoles with sequined pencil skirts, a lace slip gown with a fringed hem and satin blouses with fringed minis. Dusty rose, blush and champagne ran throughout, with ice blue and gold sequins adding light. The pieces played into LoveShackFancy's direction of bohemian chic luxury, romantic and layered but easy to wear. The dreamy setting was expanded through the soundtrack, with "Dreams" by both The Cranberries and Fleetwood Mac playing as a sequined eyelet wedding dress closed the show.
Monse
Monse's Spring/Summer 2027 show took place at Skylight at The Refinery in Williamsburg. It was the first collection since designers Laura Kim and Fernando Garcia left Oscar de la Renta to focus entirely on their own label. The collection was inspired by the broken tulip, a rare tulip whose petals come out streaked and uneven instead of one solid color, which the designers translated into the construction and texture of the clothes rather than a print. Silk was the foundation, left with raw hems that unraveled into long, hand-dyed fringe, seen in a denim-blue skirt that dissolved into ombré strands and a chartreuse gown pleated and draped so the fringe moved like tulip leaves. Feathers were worked in as hand-dyed petal-shaped appliqués, covering a strapless dress that shaded from pistachio green into cream and a full-length coat in beige and gold that read like plumage. Sheer layers were worn over colorful bras and briefs made with the New York lingerie brand ARAKS, so the underpinnings became part of the look. Pistachio, pale blue, beige and chartreuse made up a palette softer than anything Monse has shown before, and the collection marked a clear new chapter for the house.
Cult Gaia
Cult Gaia showed its Spring/Summer 2027 collection at the American Museum of Natural History on a set of rolling green moss. Designer Jasmin Larian Hekmat, who is Iranian-American, titled the collection "Behesht," the Persian word for heaven, and created it after the passing of her grandmother, exploring grief and celebration existing at once. "It's bizarre how transformative grief can be," Hekmat said. Textile usage included pink-tipped feathers erupting from a pale slip dress, a bustier woven from raffia (a natural palm fiber) with its edges left raw and paired with silk trousers and tweed, a halter gown covered entirely in antique silver sequins and a deep green gown layered in ruffled lace so fine it read as moss. The palette was built as a timeline from mourning to renewal, opening in olive, plum and forest green before shifting into silver and finally soft pink. Hekmat closed with dip-dyed silk organza gowns under a shower of real petals, turning the runway into a procession through a garden.
Ralph Lauren
Ralph Lauren presented Spring/Summer 2027 at the Jack Shainman Gallery in lower Manhattan, ahead of the brand's 60th anniversary. Lauren described the collection as "an irreverent take on romance that creates a new elegance," inspired by the American woman across eras, from heiress to a woman borrowing her boyfriend's clothes. Textile usage included navy tailoring over ruffled white poet blouses, skirts of oversized gold sequins, gold-printed velvet robe coats, gold lamé (a metallic woven fabric) in trousers and wrap tops, and a gown of finely pleated silk that clung and draped like the columns of ancient Greek statues. Navy and ivory anchored the palette, with gold running through nearly every look and washed blues and greys softening the edges. Silk scarves tied at the hips and shirts worn open over voluminous skirts gave the collection its undone glamour, masculine structure softened by feminine detail.
Area
Area showed its Spring/Summer 2027 collection on September 13, the third season under creative director Nicholas Aburn, who took over the New York label in 2025. The collection was inspired by memory and instinct, from beach recollections of shells and pearls to Aburn's childhood fantasy of what a New York fashion show would look like, which the stark white set was built to recreate. "I just reached out and grabbed things that interested me without thinking too much," Aburn said. The 27 looks consisted of dresses built from strands of pearls and fringe, metallic foil bonded to stretch jersey and shredded into fringe that hummed audibly as the models walked, white trousers dip-dyed in blue ink and gauzy lace. Ivory, electric blue and silver were the only colors on the runway, and the restraint made the blue hit harder. Aburn kept the silhouettes clean and let the surfaces carry all of the drama, a collection you could hear as well as see.
Kim Shui
Kim Shui staged her Spring/Summer 2027 show in a Manhattan alleyway, using the street as the runway. The collection was inspired by dress as performance, drawing on Peking Opera, the traditional Chinese theater known for its elaborate costumes and painted faces, and specifically the long pheasant feathers on performers' headdresses that are made to sway and circle with every movement of the body. "I wanted to play with a little bit more drama," Shui said. Textile usage included feather-printed lace gowns with feathered headpieces, a white feathered top over navy trousers embroidered in silver, chartreuse and pink brocade (a woven fabric with a raised pattern) finished in long fringe, and a white satin qipao, the high-collared Chinese dress, wrapped in netting and fringe that swung with every step. Purple and chartreuse were the standout colors, set against white, navy and blush. Shui has always dressed the body to be looked at, and this season she dressed it to be watched in motion.
Carolina Herrera
Carolina Herrera marked its 45th anniversary with a Spring/Summer 2027 show at Lincoln Center, where the runway was lined with 28,800 yellow tulips. Creative director Wes Gordon was inspired by Mrs. Herrera's 1980s New York, the era when she founded the house and dressed the city's Park Avenue social set. For the first time, the house licensed pop artist Andy Warhol's 1979 portrait of Herrera and placed it on a beaded shift dress. "There's a sophisticated camp to the clothes, and owning it," Gordon said. Textile usage included a pistachio column in guipure lace (a heavy, embroidered lace with no sheer backing) with fluted sleeves, floral chiffon with ruffled collars over sequined floral pencil skirts, sheer slips covered in silver sequin petals and pink and green tweed lady jackets over white trousers. The palette moved from graphic black, white and taxi-cab yellow into pistachio, petal pink and silver, with polka dots running through the entire collection. Karlie Kloss closed the show with Mrs. Herrera watching from the front row, a house celebrating itself without slipping into nostalgia.